Artist perspective tool

ABSTRACT

In one embodiment, an artist tool for capturing relationships between features comprises: a first transparent blade; and a second transparent blade, the first and the second transparent blade each having a length extending from a first to a second distal end, and a width extending from a first to a second edge, each having a fastener hole offset from a center point; a fastener that penetrates through the fastener holes of the first and second blades such that the first blade is rotatably coupled to the second blade by the fastener. At least one of the first or second blades comprise a first linear slit that extends along a center axis between the first distal end and the fastener hole. Either blade may include a second linear slit that extends between the second distal end and the fastener hole. The center axis passing through a center of the fastening hole.

BACKGROUND

Artists are often faced with the task of capturing a relationshipbetween objects or features that exist in a three-dimensional space ontoa two-dimensional or three-dimensional working space or surface, inorder to create for example, a drawing, painting, etching or sculpture.A method traditionally used by artists is to hold a prop, such as apencil, paintbrush, carving tool, or the like, within their line ofsight between their eye and their subject and attempt to projectfeatures of their subject onto locations of that prop, and then movetheir arm to relocate the prop to their working space to try to visuallyjudge how to re-project the position of the features onto the workingspace. This method is fraught with numerous ways to introduce errors,and even experienced artists may require multiple iterations beforeobtaining a result that adequately captures the relationship on theworking space.

For the reasons stated above and for other reasons stated below whichwill become apparent to those skilled in the art upon reading andunderstanding the specification, there is a need for an artistperspective tool.

SUMMARY

The Embodiments of the present disclosure provide methods and systemsfor an artist perspective tool and will be understood by reading andstudying the following specification.

In one embodiment, an artist tool for capturing relationships betweenfeatures comprises: a first transparent blade; and a second transparentblade, the first transparent blade and the second transparent blade eachhaving a length extending from a first distal end to a second distalend, and a width extending from a first edge to a second edge, eachhaving a fastener hole offset from a center point, with respect to thelength of each blade; a fastener that penetrates through the fastenerhole of the first blade and the fastener hole of the second blade suchthat the first transparent blade is rotatably coupled to the secondtransparent blade by the fastener; the first transparent blade and thesecond transparent blade each comprising a first linear slit thatextends along a center axis between the first distal end and thefastener hole, and a second linear slit that extends along the centeraxis between the second distal end and the fastener hole, wherein thecenter axis passes through a center of the fastening hole.

DRAWINGS

Embodiments of the present disclosure can be more easily understood andfurther advantages and uses thereof more readily apparent, whenconsidered in view of the description of the preferred embodiments andthe following figures in which:

FIGS. 1, 1A, 1B and 1C are diagrams illustrating an artist tool 100 forcapturing relationships between features in a scene within a field ofview.

FIGS. 2 and 3 are diagrams and FIG. 4 is a flow chart illustrating anexample method embodiment 400 for capturing relationships betweenfeatures using an example embodiment of the artist tool.

In accordance with common practice, the various described features arenot drawn to scale but are drawn to emphasize features relevant to thepresent disclosure. Reference characters denote like elements throughoutfigures and text.

DETAILED DESCRIPTION

In the following detailed description, reference is made to theaccompanying drawings that form a part hereof, and in which is shown byway of specific illustrative embodiments in which the embodiments may bepracticed. These embodiments are described in sufficient detail toenable those skilled in the art to practice the embodiments, and it isto be understood that other embodiments may be utilized, and thatlogical, mechanical and electrical changes may be made without departingfrom the scope of the present disclosure. The following detaileddescription is, therefore, not to be taken in a limiting sense.

FIGS. 1, 1A and 1B are diagrams illustrating an artist tool 100 forcapturing relationships between features in a scene within a field ofview of an artist. The tool comprises a first blade 110 that isrotatably coupled to a second blade 120 by a fastener 130. In thisembodiment, the first blade 110 and the second blade 120 are bothtransparent blades fabricated from a transparent material. However, itshould be understood that in any of the embodiments discussed herein,either the first blade 110, the second blade 120, or both, mayalternatively be fabricated from a non-transparent material.

Examples of devices for implementing the fastener 130 may include, butare not limited to, a rivet, clasp, or other fastening devices. In someembodiments, the blades 110 and 120 each may have flat and/or smoothsurfaces. The blades 110 and 120 may be rounded on both ends. In someembodiments, the first transparent blade and the second transparentblade may be similar or identical to each other in structure. As shownin FIG. 1, the first transparent blade and the second transparent bladeeach have a length extending from a first distal end 111, 121 to asecond distal end 112, 122, and a width extending from a first edge 114,124 to a second edge 115, 125. The blades 110, 120 also each having afastener hole 116, 126 that is offset from a center point 117, 118 withrespect to the length of each blade 110, 120. The fastener 130penetrates through the fastener hole 116 of the first blade 110 and thefastener hole 126 of the second blade 120 such that the firsttransparent blade 110 is free to rotate about the second transparentblade 120. In some embodiments, the first transparent blade 110 has afreedom to rotate at least 360 degrees with respect to the secondtransparent blade 120 around the fastener 130.

Also shown in FIGS. 1, 1A and 1B, the first transparent blade 110 andthe second transparent blade 120 may each comprising a first linear slit151, 161 that extends along a center axis between the first distal end111, 112 and the fastener hole 116, 126, and a second linear slit 152,162 that extends along the center access between the second distal end112, 122 and the fastener hole 116, 126. In some alternate embodiments,just one of the first transparent blade 110 or the second transparentblade 120 may comprise the first linear slit 151, 161 that extends alonga center axis between the first distal end 111, 112 and the fastenerhole 116, 126. Moreover, the second linear slits 152, 162 on either ofthe of the first transparent blade 110 or the second transparent blade120 may be considered optional such that one, both, or neither, of theblades 110, 120 include the feature of the second linear slit 152, 162.The center axis of both blades runs through a center of the respectivefastening holes 116, 126. It should be noted that in some embodiments,neither the first slit nor the second slit connect with the fasteninghole for either of the blades 110, 120. The first transparent blade 110and the second transparent blade 120 may each be fabricated from a rigidor semi-rigid transparent material (such as a plastic, polycarbonate, oracrylic, for example) such that the blades 110, 120 are eachsufficiently rigid so as to not fold in upon themselves when heldupright from one of their distal ends. Moreover, a transparent materialwould be a material that is sufficiently clear so as to not obfuscateobjects being viewed through the blades 110, 120. If objects in a scenecan be viewed thought the material of the blades, then the blades aretransparent blades. In some embodiments where the blades are transparentblades, the transparent material of the blades has an opacity of 25% orless. In one or more alternate embodiments where either one, or both, ofthe blades 110, 120 are not transparent, then the material of thenon-transparent blades may have an opacity of more than 25%.

In some example embodiments, the blades 110, 120 are between 5 and 6inches in length from one distal end to the other and may be between ½and ¾ inches in width. The first linear slits 151, 161 may be about 3inches in length starting from the first distal ends 111, 112, and thesecond linear slits 152, 162 about ½ inch in length starting from about⅜ inch from the second distal ends 112, 122. Moreover, the first linearslits 151, 161 and second linear slits 152, 162 may create an opening inthe blades 110, 120 on the order of 1/16 to 3/16 or up to ¼ inch inwidth. This width should ideally correspond to an opening that allowsthe artist to make precise markings using their medium (for example,pencil, paint, charcoal, chalk, ink, knife, etc.) through the slits ontothe surface they are working with, as further discussed below. In someembodiments, the fastener holes 116, 126 are positioned about 1¼ inchesfrom the second distal ends 112, 122. In some embodiments, the blades110, 120 may have a thickness in the range of about 1/32 inch to 3/32inch (or about 0.7 mm to 3 mm). As shown in FIG. 1, the second distalends 112, 122 sufficiently extend from the fastener holes 116, 126 suchthat they are exposed and the second linear slits 152, 162 are at leastpartially uncovered or non-overlapping with the opposing blade. In someembodiments, when the first transparent blade 110 and the secondtransparent blade 120 are arranged at a 90-degree angle with respect toeach other, the second distal end 112 of the first transparent blade 110is not overlapping with the second transparent blade 120. Moreover, insome embodiments, when the first transparent blade 110 and the secondtransparent blade 120 are arranged at a 90-degree angle with respect toeach other, at least a portion of the second slit 152 of the firsttransparent blade 110 is not covered by the second transparent blade120. It should be understood that the specific dimensions discussedabove are provided as illustrative examples only.

As shown in FIG. 1C, in some embodiments one or both of the blades 110,120 may include graduated scale markings 170, on their edges such asruler markings. The graduated scale markings 170 may correspond to ametric scale and/or an imperial scale, but such correspondence is notnecessary. In some embodiments, when the blades 110, 120 are fullyextended to their maximum length at 180 degrees with respect to eachother, the graduated scale markings 170 on one or both edges forms acontinuous graduated scale. The graduated scale markings 170 maycomprise pigments and/or dies that are printed, silkscreened, orotherwise applied or visibly etched (for example, laser etched) to oneor both edges of the blades 110, 120 and/or may comprise raised materialor indentions. In some embodiments, a protective coating (e.g., acoating insoluble to paint thinner solvents) over the graduated scalemarkings so that the blades may be cleaned without striping thegraduated scale markings from the blades 110, 120. Common paint thinnersolvents may include, but are not limited to, Mineral spirits, Whitespirit, Acetone, Turpentine, Naphtha, Toluene, Methyl ethyl ketone MEK,Dimethylformamide DMF, 2-Butoxyethanol, or other glycol ethers,Ethylbenzene, Xylene, n-Butyl acetate, Butanol. As such, the protectivecoating may by insoluble to one or more of these common paint thinnersolvents.

FIGS. 2 and 3 are diagrams and FIG. 4 is a flow chart illustrating anexample method embodiment 400 for capturing relationships betweenfeatures using an example embodiment of the artist tool 100 disclosedwith respect to the FIGS. 1 and 1A-1C. The method 400 begins as shownstarting at block 410 of FIG. 4 with visually aligning the artist tool100 with a first feature in a field of view. More specifically, as shownin FIG. 2, an example scene 200 that an artist wishes to capture intheir working space comprises a line of poles 210 carrying power lines212 that extend to the horizon. As shown in FIG. 3, at 300, the artisthas captured a portion of that scene 200 on their working space 305 as aline of poles 310 carrying power lines 312 that extend to the horizon.The term “working space” as used herein is intended to encompass both2-dimensional spaces and 3-dimensional spaces. The example working space305 shown in FIG. 3 may thus comprise a sheet of paper or canvas, but itis understood that a working space for practicing methods of the presentdisclosure may comprise any surface such as but not limited so flat,curved or textured surfaces of canvas, paper, wood, stone or metalplates, or three-dimensional space or material such as a sculptingmaterial (clay, for example), glass, bronze or other molding or castingmaterial for creating a 3D object of any product/material. At block 410,the artists proceed with visually aligning either the first slit or thesecond slit of the first transparent blade 110 with a first feature. Inthis example scene 200, the artist has aligned the first slit and secondslits of the first transparent blade 110 with one of the power lines 212as shown at 220 and 222 (the first feature) for the purpose of capturinga relationship in terms of scale and perspective of that power line 212with a building 230 of interest that they wish to accurately representon the working space 305. As such, the process 400 proceeds to 420 wherethe artists, while maintaining alignment of the first transparent blade110 with the first feature (power line 212), rotates the secondtransparent blade 120 to visually align the first slit or the secondslit of the second transparent blade 120 with a second feature in thefield of view. In this example the second feature comprises a wall'sground edge portion of the building 230 structure where the building 230meets the ground as shown at 224. At this point, the relative angleformed between the first transparent blade 110 and the secondtransparent blade 120 captures a spatial and angular relationshipbetween the first and second features in the scene 200 that may now betransferred to the working space 305. It should be noted that becausethe first and second blades 110 and 120 of the tool 100 are transparent,the artists may capture this relationship while still assessing otherfeatures and components of the scene 200. In some embodiments, thealignments at 410 and 420 may be performed with the artists holding theartist tool out in front of them (for example, at arm's length) as theyview the first and second features through the slits of the blades. Itshould be noted that the relationship between and two features may becaptured in this matter, whether the features are elements of differentobjects, or features of the same objects. For example, the relationshipbetween a roofline and corner of the building 230 may be captured in thesame manner as just described. In some embodiments, which the artisttool 100 is still aligned per blocks 410 and 420, the method may furthercomprise applying one or more markings to either the first transparentblade 110 or the second transparent blade 120 to capture additionalrelationships and scale information. For example, a marking may beapplied to note the position of another feature appearing in a slit suchas shown at 241 where a marking is made to indicate a position where anarm of the pole intersects with the power line 212 being used as thefirst feature, or such as shown at 243 where a marking is made toindicate a position where a second power line 212 passes through thesecond slit of the second arm from the perspective of the artists usingthe tool 100. Moreover, with respect to the building of interest 230,markings may be applied to the second blade as shown at 242 to denotewhere the wall's ground edge portion of the building 230 structurebegins and ends as viewed through the first slit of the second blade120. In some embodiments, graduated scale markings 170 may be usedinstead of, or together with the markings 241, 242 and 242 to establishthe relative position of the features.

The method then proceeds to 430 where, while maintaining a relativeangle of the first transparent blade with respect to the secondtransparent blade, the method comprises replicating the relationshipbetween the first feature and the second feature by aligning either thefirst slit or second slit of the first transparent blade with areference feature on a working space 305. Note that the referencefeature need not be a prior marking if the tool 100 is being used tomark the first rendering on the working space 305. Moreover, it shouldbe understood that the rendering being created on the working space 305may be an expressionist art form or an abstract one, in which case thetool 100 allows the artists to incorporate the relationship of twoobjects desired in the art piece. Referring to FIG. 3, the artist mayalign the first and second slits of the first blade 110 with arepresentation of the power line 312 appearing on the working space 305to use that feature as an alignment reference. Moreover, optionally themarking 241 may be aligned with the arm of the pole 310 alreadyappearing on the working space 305 and the marking 243 may be alignedwith second power line already appearing on the working space 304. Thesecond blade 120, and more specifically the first and second slits ofthe second blade 120, may then be used to replicate the perspective andangular relationship between the power line 212 and the wall's groundedge portion of the building 230 on the working space 305 as shown at344. As such the method proceed to 440 with applying one or moremarkings onto the working space within either one or both of the firstslit or the second slit of the second transparent blade 120. Themarkings applied onto the working space 304 may then be utilized by theartist as a baseline for accurately rendering the building 230 onto theworking space 305, or adding one or more other features to the workingspace 305 (whether actually observed objects or artistically inspired)that the artists wished to be correctly aligned. For example, as shownin FIG. 3 generally at 330, a line on the working space 305 may bemarked in the first slit of blade 120 between the two markings at 242 todefine where the wall's ground edge portion of building 230 shouldappear in order to begin rendering the building 230 on the working space305.

Example Embodiments

Example 1 includes an artist tool for capturing relationships betweenfeatures, the tool comprising: a first transparent blade; a secondtransparent blade, the first transparent blade and the secondtransparent blade each having a length extending from a first distal endto a second distal end, and a width extending from a first edge to asecond edge, each having a fastener hole offset from a center point,with respect to the length of each blade; and a fastener that penetratesthrough the fastener hole of the first blade and the fastener hole ofthe second blade such that the first transparent blade is rotatablycoupled to the second transparent blade by the fastener; the firsttransparent blade and the second transparent blade each comprising afirst linear slit that extends along a center axis between the firstdistal end and the fastener hole, and a second linear slit that extendsalong the center axis between the second distal end and the fastenerhole, wherein the center axis passes through a center of the fasteninghole.

Example 2 includes the tool of example 1, wherein neither the first slitnor the second slit connect with the fastening hole.

Example 3 includes the tool of any of examples 1-2, wherein either orboth of the first the first transparent blade or the second transparentblade comprise graduated scale markings on one or both of the first edgeor the second edge.

Example 4 includes the tool of example 3, wherein the graduated scalemarkings comprise etched, pigmented or dyed markings.

Example 5 includes the tool of any of examples 3-4, wherein thegraduated scale markings comprise either raised or indented markings.

Example 6 includes the tool of any of examples 3-5, wherein thegraduated scale markings include one or both of a metric scale or animperial scale.

Example 7 includes the tool of any of examples 1-6, wherein the firsttransparent blade and the second transparent blade comprise atransparent material.

Example 8 includes the tool of any of examples 1-7, wherein the firsttransparent blade and the second transparent blade are free to rotate360 degrees with respect to each other around the fastener.

Example 8 includes the tool of any of examples 1-8, wherein one or bothof the first distal end or the second distal end are curved.

Example 10 includes the tool of any of examples 1-9, wherein the firstlinear slit and the second linear slit are between 1/16 to 3/16 inchesin width.

Example 11 includes the tool of any of examples 1-10, wherein the firsttransparent blade and the second transparent blade are each less thansix inches in length.

Example 12 includes the tool of any of examples 1-11, wherein when thefirst transparent blade and the second transparent blade are arranged ata 90-degree angle with respect to each other, the second distal end ofthe first transparent blade is not overlapping with the secondtransparent blade.

Example 13 includes the tool of any of examples 1-12, wherein when thefirst transparent blade and the second transparent blade are arranged ata 90-degree angle with respect to each other, at least a portion of thesecond slit of the first transparent blade is not covered by the secondtransparent blade.

Example 14 includes a method for capturing relationships betweenfeatures, the method comprising: visually aligning an artist tool with afirst feature in a field of view, the artist tool comprising: a firsttransparent blade; a second transparent blade, the first transparentblade and the second transparent blade each having a length extendingfrom a first distal end to a second distal end, and a width extendingfrom a first edge to a second edge, each having a fastener hole offsetfrom a center point, with respect to the length of each blade; and afastener that penetrates through the fastener hole of the first bladeand the fastener hole of the second blade such that the firsttransparent blade is rotatably coupled to the second transparent bladeby the fastener; the first transparent blade and the second transparentblade each comprising a first linear slit that extends along a centeraxis between the first distal end and the fastener hole, and a secondlinear slit that extends along the center axis between the second distalend and the fastener hole, wherein the center axis passes through acenter of the fastening hole; wherein visually aligning the artist toolcomprises visually aligning either the first slit or the second slit ofthe first transparent blade with the first feature; while maintainingalignment of the first transparent blade with the first feature,rotating the second transparent blade to visually align the first slitor the second slit of the second transparent blade with a second featurein the field of view; while maintaining a relative angle of the firsttransparent blade with respect to the second transparent blade,replicate a relationship between the first feature and the secondfeature by aligning either the first slit or second slit of the firsttransparent blade with a reference feature on a working space; andapplying one or more markings onto the working space within either oneor both of the first slit or second slit of the second transparentblade.

Example 15 includes the method of example 14, wherein the first featurein the field of view is located on a different object that the secondfeature in the field of view.

Example 16 includes the method of any of examples 14-15, furthercomprising: holding the artist tool arm's length while visually aligningthe artist tool with a first feature in a field of view.

Example 17 includes the method of any of examples 14-16, wherein theworking space comprises at least one of: canvas; paper; wood; asculpture; a stone or metal plate; a casting material; or a sculptingmaterial.

Example 18 includes the method of any of examples 14-17, furthercomprising: applying one or more markings to either the firsttransparent blade or the second transparent blade.

Example 19 includes the method of any of examples 14-18, wherein eitheror both of the first the first transparent blade or the secondtransparent blade comprise graduated scale markings on one or both ofthe first edge or the second edge.

Example 20 includes the method of example 19, further comprising:measuring a characteristic of either the first feature or the secondfuture using the graduated scale markings; and wherein applying the oneor more markings onto the working space within either one or both of thefirst slit or second slit of the second transparent blade is at least inpart based on the measured characteristic.

It should be understood that while this disclosure illustratesapplications for using the tool 100 by an “artist”, referring to theuser of the tool 100 as an “artist” is only to facilitate the ease ofdescribing the embodiments discussed herein. It should be understoodthat the user may instead be an architect, engineer, surveyor,draftsperson, or any other user, regardless of whether they are, orconsider themselves, engaged in an artistic endeavor. Although specificembodiments have been illustrated and described herein, it will beappreciated by those of ordinary skill in the art that any arrangement,which is calculated to achieve the same purpose, may be substituted forthe specific embodiment shown. This application is intended to cover anyadaptations or variations of the presented embodiments. Therefore, it ismanifestly intended that embodiments be limited only by the claims andthe equivalents thereof.

What is claimed is:
 1. An artist tool for capturing relationshipsbetween features, the tool comprising: a first transparent blade; asecond transparent blade, the first transparent blade and the secondtransparent blade each having a length extending from a first distal endto a second distal end, and a width extending from a first edge to asecond edge, each having a fastener hole offset from a center point,with respect to the length of each blade; and a fastener that penetratesthrough the fastener hole of the first blade and the fastener hole ofthe second blade such that the first transparent blade is rotatablycoupled to the second transparent blade by the fastener; the firsttransparent blade and the second transparent blade each comprising afirst linear slit that extends along a center axis between the firstdistal end and the fastener hole, and a second linear slit that extendsalong the center axis between the second distal end and the fastenerhole, wherein the center axis passes through a center of the fasteninghole.
 2. The tool of claim 1, wherein neither the first slit nor thesecond slit connect with the fastening hole.
 3. The tool of claim 1,wherein either or both of the first the first transparent blade or thesecond transparent blade comprise graduated scale markings on one orboth of the first edge or the second edge.
 4. The tool of claim 3,wherein the graduated scale markings comprise etched, pigmented or dyedmarkings.
 5. The tool of claim 3, wherein the graduated scale markingscomprise either raised or indented markings.
 6. The tool of claim 3wherein the graduated scale markings include one or both of a metricscale or an imperial scale.
 7. The tool of claim 1, wherein the firsttransparent blade and the second transparent blade comprise atransparent material.
 8. The tool of claim 1, wherein the firsttransparent blade and the second transparent blade are free to rotate360 degrees with respect to each other around the fastener.
 9. The toolof claim 1, wherein one or both of the first distal end or the seconddistal end are curved.
 10. The tool of claim 1, wherein the first linearslit and the second linear slit are between 1/16 to 3/16 inches inwidth.
 11. The tool of claim 1, wherein the first transparent blade andthe second transparent blade are each less that six inches in length.12. The tool of claim 1, wherein when the first transparent blade andthe second transparent blade are arranged at a 90-degree angle withrespect to each other, the second distal end of the first transparentblade is not overlapping with the second transparent blade.
 13. The toolof claim 1, wherein when the first transparent blade and the secondtransparent blade are arranged at a 90-degree angle with respect to eachother, at least a portion of the second slit of the first transparentblade is not covered by the second transparent blade.
 14. A method forcapturing relationships between features, the method comprising:visually aligning an artist tool with a first feature in a field ofview, the artist tool comprising: a first transparent blade; a secondtransparent blade, the first transparent blade and the secondtransparent blade each having a length extending from a first distal endto a second distal end, and a width extending from a first edge to asecond edge, each having a fastener hole offset from a center point,with respect to the length of each blade; and a fastener that penetratesthrough the fastener hole of the first blade and the fastener hole ofthe second blade such that the first transparent blade is rotatablycoupled to the second transparent blade by the fastener; the firsttransparent blade and the second transparent blade each comprising afirst linear slit that extends along a center axis between the firstdistal end and the fastener hole, and a second linear slit that extendsalong the center axis between the second distal end and the fastenerhole, wherein the center axis passes through a center of the fasteninghole; wherein visually aligning the artist tool comprises visuallyaligning either the first slit or the second slit of the firsttransparent blade with the first feature; while maintaining alignment ofthe first transparent blade with the first feature, rotating the secondtransparent blade to visually align the first slit or the second slit ofthe second transparent blade with a second feature in the field of view;while maintaining a relative angle of the first transparent blade withrespect to the second transparent blade, replicate a relationshipbetween the first feature and the second feature by aligning either thefirst slit or second slit of the first transparent blade with areference feature on a working space; and applying one or more markingsonto the working space within either one or both of the first slit orsecond slit of the second transparent blade.
 15. The method of claim 14,wherein the first feature in the field of view is located on a differentobject that the second feature in the field of view.
 16. The method ofclaim 14, further comprising: holding the artist tool arm's length whilevisually aligning the artist tool with a first feature in a field ofview.
 17. The method of claim 14, wherein the working space comprises atleast one of: canvas; paper; wood; a sculpture; a stone or metal plate;a casting material; or a sculpting material.
 18. The method of claim 14,further comprising: applying one or more markings to either the firsttransparent blade or the second transparent blade.
 19. The method ofclaim 14, wherein either or both of the first the first transparentblade or the second transparent blade comprise graduated scale markingson one or both of the first edge or the second edge.
 20. The method ofclaim 19, further comprising: measuring a characteristic of either thefirst feature or the second future using the graduated scale markings;and wherein applying the one or more markings onto the working spacewithin either one or both of the first slit or second slit of the secondtransparent blade is at least in part based on the measuredcharacteristic.